DOI Heft:
Nr. 220 (July 1911)
DOI Artikel:Taylor, Ernest Archibald: The american colony of artists in Paris, [2]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20973#0136
American Artists in Paris
of places. You don't want to write a volume to give moments. His constant seeking for a truer con-
tersely, clearly, with a few lines, each individual line struction and adherence to form places him in the
to mean something, and there shall be a running front rank among the few who understand the limits
connection existing throughout. There you have of the etching-needle and can make it more than
it—lines, letters ; letters, words ; words, a thought; lisp in expression.
a few thoughts and you have your line impression of Art is serious, and the roads for all to her secrets
a something seen and felt. So that when you are are rough ; wealth cannot draw it from her, nor will
all through, to the eye your result will look like a she reveal it to your hasty desire to make gold, nor
written page."—In that slight selection is John to the foolish sentimentalist of " Art for Art's sake."
Marin. For me to try and expound more than a man She is no beggar—Art's reward is hope, and in her
himself interprets or devises would be to do what garden are many flowers. Let the artist look to
has been done too much to-day by the followers of his seeds; you can learn to paint and be taught to
the great and popular, by those who sit round draw, and mediocrity will build you a mansion and
his productions on footstools with the wisdom of the crime of its ugliness go unpunished; but Art
owls, finding virtues in their hero's failures and will build you castles towering in the air that will
accidents, until one of them becomes honest or be castles indeed some day, but not built on the
time exposes the feet of clay. extraction of light or the division of shadows, or a
Though having a great admiration for the work medley of misunderstood and degenerate emotion
of Marin and also the etchings of Whistler, Charles raking for eccentricity in the garbage-heap of
K. Gleeson is no imitator; his appreciation for civilisation to satisfy self-deformed characters of
much in nature that must naturally appeal to an mind and imagination lacking the infinite. In an
etcher still indites from him his own reading ; article where space has not the power of elasticity
translating and interpreting, unravelling the pages one must regrettably overlook at present some few
that contain the history of man and his power of other notable artists, whose homes the surrounding
enterprise in the conglomeration of London and country claims—and those whose work demands a
Paris buildings and waterways, occupy his happiest grouping of another order. E.1 A. T.
; RIO DEL MENDICANTI, VENICE" (ETCHING) BY CHARLES K. GLEESON
"5
of places. You don't want to write a volume to give moments. His constant seeking for a truer con-
tersely, clearly, with a few lines, each individual line struction and adherence to form places him in the
to mean something, and there shall be a running front rank among the few who understand the limits
connection existing throughout. There you have of the etching-needle and can make it more than
it—lines, letters ; letters, words ; words, a thought; lisp in expression.
a few thoughts and you have your line impression of Art is serious, and the roads for all to her secrets
a something seen and felt. So that when you are are rough ; wealth cannot draw it from her, nor will
all through, to the eye your result will look like a she reveal it to your hasty desire to make gold, nor
written page."—In that slight selection is John to the foolish sentimentalist of " Art for Art's sake."
Marin. For me to try and expound more than a man She is no beggar—Art's reward is hope, and in her
himself interprets or devises would be to do what garden are many flowers. Let the artist look to
has been done too much to-day by the followers of his seeds; you can learn to paint and be taught to
the great and popular, by those who sit round draw, and mediocrity will build you a mansion and
his productions on footstools with the wisdom of the crime of its ugliness go unpunished; but Art
owls, finding virtues in their hero's failures and will build you castles towering in the air that will
accidents, until one of them becomes honest or be castles indeed some day, but not built on the
time exposes the feet of clay. extraction of light or the division of shadows, or a
Though having a great admiration for the work medley of misunderstood and degenerate emotion
of Marin and also the etchings of Whistler, Charles raking for eccentricity in the garbage-heap of
K. Gleeson is no imitator; his appreciation for civilisation to satisfy self-deformed characters of
much in nature that must naturally appeal to an mind and imagination lacking the infinite. In an
etcher still indites from him his own reading ; article where space has not the power of elasticity
translating and interpreting, unravelling the pages one must regrettably overlook at present some few
that contain the history of man and his power of other notable artists, whose homes the surrounding
enterprise in the conglomeration of London and country claims—and those whose work demands a
Paris buildings and waterways, occupy his happiest grouping of another order. E.1 A. T.
; RIO DEL MENDICANTI, VENICE" (ETCHING) BY CHARLES K. GLEESON
"5